Author: Ellen Dunkel

  • The next stop for South Jersey’s Isabeau Levito and other Olympic figure skating hopefuls: Philadelphia

    The next stop for South Jersey’s Isabeau Levito and other Olympic figure skating hopefuls: Philadelphia

    As the 2024 world silver medalist and the 2023 U.S. champion, South Jersey figure skater Isabeau Levito competes and performs across the country and the globe.

    But this weekend, Levito, 18, has an easy commute to the show she is skating in.

    American Gold Live! — Holiday Ice Spectacular will be at the Class of 1923 Ice Rink on Penn’s campus on Saturday and features 2026 Olympic hopefuls Levito, Ilia Malinin, and Alysa Liu. Brian Boitano, the 1988 Olympic champion, is hosting the show.

    Levito, Malinin, and Liu will compete at the U.S. Figure Skating Championships from Jan. 4 to 11 in St. Louis. Results there will be part of the equation to determine the Olympic team. All three are well on their way to qualifying.

    Alysa Liu, the 2025 world champion, won her first Grand Prix Final last weekend in Japan.

    This weekend’s show is a particularly good opportunity for Levito.

    “I was very happy to hear that it was in Philly when I was asked if I wanted to do the show,” said Levito, who lives and trains in Mount Laurel. “I don’t want to go to the airport.”

    But she’s also eager to get up and go.

    “I get a little antsy when I’m home for too long,” she said. “I’m used to every month or so I have a competition or something, having to travel.”

    This year she had an unexpected break as the first alternate to last weekend’s Grand Prix Final in Japan.

    “I’ve been home for, like, five weeks,” she said. “I don’t know what to do with myself.”

    So she’s eager to perform. One of her numbers in the show will be this year’s short program, to a medley of music from Sophia Loren movies. (Her long program is to music from Cinema Paradiso. This season’s competitive programs are a nod to Italy, where the 2026 Winter Olympics will be in her mother’s hometown of Milan.)

    “I haven’t competed since [the] beginning of November,” Levito said, ”so it’ll be kind a way to [get it out there]. But also, I like that program.”

    She’ll also be skating a new holiday program to Jackie Evancho’s “Believe.”

    Shows allow skaters to put aside the rules of competition and play up their favorite elements.

    Liu, 20, of Oakland, Calif., enjoys executing spins that are not allowed in competition, doing very fast rotations, and trying new positions.

    “We all have the same [spins] now,” Liu said, “because of the rules and how to get the levels. It’s so strange and we don’t really have as much creativity. There are so many other spins that we can do.”

    Levito said she enjoys making the most out of her illusion spin, in which a skater alternates between spinning upright and with her head down toward the ice and a leg in the air. In shows, she’ll hold it for as long as she can, which would not be allowed in a competition. But it is a crowd pleaser.

    “I remember Philly audiences being really into skating and really good,” Boitano said. “So I think it’s going to be fun. You’re going to see them unplugged and having a good time before they gear up to go to the Olympic trials” — the U.S. Figure Skating Championships — “in St. Louis and then to the Olympics in Milan.”

    Ilia Malinin won the Grand Prix Final in Japan while successfully completing all seven quadruple jumps.

    Malinin, 21, from Vienna, Va., known as the Quad God, competes in the most difficult program in skating today. He won his third Grand Prix Final in Japan last weekend while completing all seven quadruple jumps in his freestyle program.

    For shows, though, he often skates something he choreographs for himself. He also likes to explore a different side to his skating.

    “In shows, I really love to express myself more and be a little more creative and artsy with my programs,” Malinin said. “Whether that be cool, interesting choreography, or even some cool backflips or those kind of tricks.”

    As for competition, Malinin is planning to maintain his difficulty throughout the season — and then maybe raise it even further.

    He planned all seven quads last season, “but now I think I really want it to be something that I can repeat and do consistently, especially this at the Olympics. I think it would be another kind of record.”

    “A lot of behind-the-scenes [planning and training] is definitely going to be the quints [quintuple jumps, which have never been done],” he said. “I think I want to get that done after the Olympics, for sure.”

    For Levito, this year’s elements are set in stone. But she’ll be back after the Olympics and hopes to step up her game as well.

    “I’m really excited for next season,” she said, “because I’m going to start finally working on things that I’ve really been wanting to work on, but I’m too scared to get injured.

    “When I was 14, I was working on quad toe [loop]. I seriously had it, like I would land it in practice. But then I got a stress reaction in my shin before the Junior Grand Prix Final, and I couldn’t do the final.

    “I already know I can do [the jump], so why can’t I do it now?”

    Isabeau Levito is highlighting her mother’s native Italy in her programs this year.

    Liu competed a triple axel and quadruple lutz when she was a young teenager. When COVID hit, she came to Newark, Del., to train, and she had the whole rink to herself.

    “I loved Delaware,” she said. “That was my first break day in my life. Before that, I skated every single day. Delaware was this utopia for me. There was no coach. I would lay on the ice and blast the music.”

    Liu retired from skating after the 2020 Olympics and went to college. Then she realized she missed it, so she came back last year with a new love for the sport and a new attitude. (She is on leave as a student at UCLA.)

    “If [Alysa] learns a triple axel the day before the Olympics, she’ll land it in the Olympics,” Boitano said.

    Liu said she probably would put it in her program that quickly.

    “I’m not afraid of failure,” she said. “I invite failure. Skating is my parkour.”

    “American Gold Live! — Holiday Ice Spectacular” is at 1 and 6 p.m. Saturday at the Penn Class of 1923 Ice Rink, 3130 Walnut St. Tickets: $96.62-$292.31. Information: americangoldlive.com.

  • The family of dancers that has danced the Philadelphia Ballet ‘Nutcracker’ for at least a dozen years

    The family of dancers that has danced the Philadelphia Ballet ‘Nutcracker’ for at least a dozen years

    The Nutcracker is about family. It centers around a girl named Marie, her parents and little brother, and the magical things that happen after they throw a Christmas party.

    At Philadelphia Ballet, it’s more than just that.

    Four members of a dancing family make Nutcracker magic onstage together. Sisters Isabella, 21, Ava, 19, and Olivia DiEmedio, 16, are all members of the company. Isabella is in the corps de ballet, Ava an apprentice, and Olivia in Philadelphia Ballet II.

    When the company opens its annual production of George Balanchine’s The Nutcracker this weekend at the Academy of Music, the sisters will perform as snowflakes, flowers, parents, maids, and a variety of sweet treats.

    Olivia DiEmedio, 16, (center) rehearses “The Nutcracker” with Philadelphia Ballet.

    The sisters are still on the rise in the company, and are yet to explore most of the principal roles. But they’ve filled most of the children’s, many of the corps, and some soloist roles. In fact, there has been a DiEmedio in one scene or another of The Nutcracker for at least a dozen years.

    Even their mother is sometimes onstage alongside them.

    Charity Eagens, who grew up in East Norriton, Montgomery County, was in the company, then known as Pennsylvania Ballet, for 10 years, starting in 1996. Now she is a teacher in the School of Philadelphia Ballet and the children’s ballet stager. She is also the grandmother in some performances of The Nutcracker.

    Eagens has taught all three of her daughters throughout their training, and she continues to do so once a week, when she teaches company class.

    In ballet class, she is their teacher. As soon as they step outside the studio, she is Mom.

    “It would be really awkward for all my friends to see me calling you Miss Charity,” Ava said to her mother on Zoom, gathering around a table at Philadelphia Ballet.

    “I would never say ‘Miss Charity,’” Olivia added. “I would just say what I needed to say and, like, just raise my hand.”

    The DiEmedio sisters grew up on Philadelphia Ballet.

    Isabella DiEmedio, 21, rehearses “The Nutcracker” with Philadelphia Ballet.

    “I took Isabella to see her first ballet [when] she was 2 years old, which is a little bit too young,” Eagens said. “But a lot of my friends were still in the company, and I took her. I thought, ‘Let me just see how long she sits.’”

    It was Sleeping Beauty, which is well over two and a half hours.

    “So it’s probably not the best one,” said Eagens. “However, she sat on the edge of her seat for the whole thing.”

    In 2007, when she was 3, Isabella started ballet classes in a local school where Eagens taught.

    When she was 4, Isabella went to her mother and said, “I want to dance on the same stage as you, Mom,” Eagens said.

    In 2012, when Isabella was 7, the company reopened its school (after becoming the Rock School for Dance 20 years earlier, when it looked like the troupe might fold), and Eagens signed her up.

    Her sisters followed in the same pattern: local classes at 3, moving over to the School of Philadelphia Ballet for more serious training when they were 7. They tried gymnastics, too, but ballet is what stuck for all of them.

    Ava DiEmedio, 19, (second from right) rehearses “The Nutcracker” with Philadelphia Ballet.

    The Nutcracker was a staple in their lives. Ava and Olivia both danced the role of Marie. Isabella was too tall when it might’ve been her turn, putting the top child’s role out of her reach.

    These days, Isabella lives independently, sharing an apartment with another dancer in the company. Ava is considering moving out as well, but her father is encouraging her to stay put and save money. Meanwhile, she and Olivia split their time living with Eagens in Worcester, Montgomery County, and with their father in Philadelphia, which is convenient for getting to the studio and theater.

    At 16, Olivia is a junior in high school, doing her academic work online through the Brandywine Virtual Academy, which is affiliated with the Methacton School District she used to attend in person.

    “I never had to withdraw them from school,” Eagens said.

    At different stages of their burgeoning careers, the sisters continue to support one another.

    “In combined company class with the men and women, I’ll stand behind Isabella,” Ava said. “And then in the ladies class, I stand behind Olivia. Sometimes I’ll tell [Olivia] little things I noticed about her technique.”

    Their boss has his eye on them.

    “Isabella, Olivia, Ava, and their mother Charity each bring their own artistry and dedication to Philadelphia Ballet,” said artistic director Angel Corella, “and watching them share the stage is incredibly moving.”

    The sisters are all eager to improve and get opportunities.

    “I want to be the best that I can and see how far I can take it,” Isabella said.

    Ava agreed. “I want to be able to branch out of corps roles.”

    As the youngest, Olivia knows she may have to wait her turn, although in ballet even the youngest professionals can get big roles.

    “Technically, I’m still in training,” as a second company member, she said. “So I have to always keep in mind and have a good mindset about it and keep working hard every day.”

    But, she added, “I really want to become someone who is, like, the star.”

    Philadelphia Ballet in “George Balanchine’s The Nutcracker.” Dec. 5-31, Academy of Music. $28-$282, 215-893-1999 or ensembleartsphilly.org

  • At 20, BalletX is nowhere near done bringing the most exciting new ballet and choreography to Philly

    At 20, BalletX is nowhere near done bringing the most exciting new ballet and choreography to Philly

    In 2005, Christine Cox just wanted to hire exciting choreographers to make new work on dancers who, at the time, were mostly her friends and colleagues picking up extra work in their off time from Pennsylvania Ballet.

    She had little idea that she was creating a Philadelphia institution.

    “I was a really short-term planner,” said Cox, 56, whose contemporary ballet company, BalletX, is celebrating 20 years. “I just wanted to do the next right thing.”

    She tried selling the company to everybody, she said: “people sitting in a picnic at Rittenhouse Square, someone at a library, someone I met in an elevator. I literally had postcards in my back pocket.”

    Once at a fair on Walnut Street, she had her team blow up hundreds of BalletX balloons and hand them out. “And I’d see all these balloons, and it was so much work” said Cox. “But you know, we were as a team, doing anything we could to spread the word, and we still continue.”

    BalletX dancers, João Pedro Silva and Itzkan Barbosa rehearse.

    There was no way of knowing that the troupe she started with Matthew Neenan (who later left to devote his full attention to his choreography but continues to work frequently with BalletX) would one day employe 16 dancers for an almost unheard of 52-week contract with six weeks of paid vacation time and a matching 401(k). Or that they would tour, perform frequently at the Vail Dance Festival, and have regular home seasons in Philly.

    Cox would go on to commission 150 world premieres by 80 choreographers, launching some careers and bringing well-known dance makers to Philly.

    BalletX will be celebrating its two decades with a pair of retrospective performances over the next two weeks at the Suzanne Roberts Theater. The first week will include excerpts of works Cox commissioned in the company’s first decade. The second will include excerpts from more recent works and then finish with a short world premiere by rehearsal director Keelan Whitmore.

    BalletX dancer Eileen Kim rehearses.

    In all, the performances will mark 18 new works BalletX commissioned, each in snippets of six minutes or less.

    Until relatively recently, Cox didn’t realize the success she had built.

    It took BalletX opening its own studio on Washington Street in 2018 for her to see it.

    “When I saw the looks on people’s faces around the country, like, ‘Oh, we just opened up our own studio.’ Especially when we were in New York City. Suddenly everyone took us a little bit more seriously.

    A home of one’s own is a rare success in the dance world.

    Choreographer, Marguerite Donlon, center, rehearses dancers for the company’s 20th anniversary retrospective.

    She is finally starting to have a longer vision and dream.

    “I am able to now say, ‘OK, I think this, this is possible.’ I always say it with hesitation, because that’s my nature, the balance between humility and confidence. It’s a fine balance. I’m also a little superstitious. I don’t want to be like, ‘We’ve got it all figured out,’ and then the next thing you know, you’re navigating out of a pandemic.”

    And yet, the COVID-19 pandemic also helped shape BalletX, which was one of the first and more successful companies to do work on camera. The company continues to feature short films in every performance and will do so for the retrospective, too.

    The first week’s performances will open the way BalletX launched: with the angel trio from Neenan’s Frequencies. The initial three dancers were Cox, Neenan, and Tara Keating, who is now the company’s associate artistic director.

    Ballet dancers rehearse for the company’s 20th anniversary retrospective.

    “It was a couple years after 9/11. The lyrics in the music, the whole piece was just unexpected to me. We ended with this beautiful trio of this really lightning, fast, energetic piece. Matt just was so bold and daring … he would take really into make really incredible choices that were not traditional. And I think that was really important in helping us define who we were.”

    The program will also include Still at Life, which introduced the now widely known choreographer Annabelle Lopez Ochoa to American audiences. It will also include a piece by Edward Liang, the artistic director of Washington Ballet, along with work by Jodie Gates, Nicolo Fonte, and Jorma Elo.

    The second week will feature excerpts from Trey McIntyre’s Big Ones, which got BalletX featured on the cover of Dance Magazine. It also includes work by Jo Stromgren, Darrell Grand Moultrie, Dwight Rhoden, and Jennifer Archibald. It will also feature the work of former BalletX dancer Caili Quan who, after launching her career in Philly, went on to choreograph for some of the top American companies.

    At the end of the retrospective, Cox wants to launch BalletX into the future, with the world premiere of Whitmore’s work.

    “I thought it’s really important to really end the night on the second program with what we do, which is the future. You know, we’re creating work.”

    BalletX 20th anniversary retrospective. “Program A: The first decade,” Oct. 29-Nov. 2. “Program B: The second decade,” Nov. 5-9. Suzanne Roberts Theater. $65-$90, 215-225-5389 x250 or boxoffice@balletx.org